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151 

5 

IS 


151 

5 
5 
51 

^fZ][51R][5Jfa[5Tfa[5U^][5Trg[5UZ][^ 


SHANEWIS 

(THE  P.OBIN  WOMAN) 

AN    OPERA 


THE  LIBRETTO  BY 
NELLE  RICHMOND  EBERHART 

THE  MUSIC  BY 
CHAKLES  WAKEFIELD  CADMAN 


Copyright.    1918  by  the  White-Smith  Music  Publishing  Co. 
International  Copyright  Secured. 


PUBLISHED  BY 

FKED   KULLMAN,  Inc. 

AT  THE 

THEATRE  TICKET  OFFICE,   1 1 1  BROADWAY 
NEW  YOKK 


ARGUMENT. 


Mrs.  J.  AsHER  Everton.  a  wealthy  widow  and  prominent  club  woman 
of  southern  California,  has  become  interested  in  Shaxewis.  a  beautiful  educated 
Indian  girl  of  musical  promise,  sending  her  to  New  York  for  vocal  training. 
After  several  years'  study.  Shaxewis  is  invited  by  her  benefactress  to  spend 
the  summer  in  her  bungalow  by  the  sea.  A  few  days  before  her  arrival,  Amy 
EvERTOX  has  returned  home  from  a  long  trip  abroad  following  her  graduation 
from  A'assar  and,  in  honor  of  both  girls,  j\Irs.  Evertox  gives  a  dinner  dance  and 
musicale.  Shaxewis,  who  does  not  dine  before  singing,  makes  her  first  appear- 
ance before  Mrs.  Evertox's  guests  when  she  comes  into  the  music  room  to  sing. 

Her  initial  number,  "The  Spring  Song  of  the  Robin  Woman."  a  Tsim- 
shian  legend,  together  with  the  thrilling  quality  of  her  voice,  her  undoubted 
histrionic  ability,  and  her  engaging  smile,  create  a  sensation  even  among  the  older, 
more  critical  guests. 

Lioxel  Rhodes,  the  childhood  sweetheart  and  acknowledged  fiance  of 
Amy,  is  fascinated  by  the  charm  and  novelty  of  Shaxewis.  He  names  her 
immediately  "Enchantress,"  "The  Robin  ^^'oman"'  who  calls  spring  to  the  heart, 
and  he  makes  impetuous  love  to  her  behind  a  screen  of  palms  while  the  guests 
are  out  on  the  terrace  dancing.  Shaxewis  is  at  first  shy.  but,  finally,  not  know- 
ing of  his  engagement  to  the  daughter  of  her  benefactress,  she  yields  to  his 
wooing  conditionally.  The  condition  is  that  he  go  with  her  to  her  home  on 
the  reservation  to  see  if  her  family  be  any  bar  to  his  regard.  He  consents,  and 
their  interview  is  terminated  by  the  sudden  entrance  of  Amy  with  a  young  man 
who  seeks  the  next  dance  with  the  Indian  girl. 

Surprised  and  annoyed  by  their  evident  confusion  at  her  interruption, 
Amy  jealously  protests  to  Lioxel,  and  is  not  propitiated  by  his  half-hearted 
efforts  to  reassure  her.  Her  first  uneasiness  had  been  roused  earlier  in  the 
evening  by  Lioxel's  enthusiasm  over  the  photograph  of  Shaxewis  which,  he 
said,  recalled  to  his  mind  a  lovely  face  he  had  once  seen  in  Arizona.  His 
subsequent  seclusion  with  the  Indian  girl  leads  her  to  suspect  a  serious  flirtation. 
Suddenly,  she  reahzes  that  her  long  absence  has  somewhat  loosened  the  bond 
between  herself  and  her  lover.  Throwing  herself  into  his  arms  she  cries,  "Ah, 
suppose  you  ceased  to  love  me." 

The  clock  strikes  twelve  and  the  guests  hasten  in  to  take  their  departure 
which  they  do  lingeringly,  congratulating  Mrs.  Evertox  and  Shaxewis,  and 
teasing  Amy,  laughingly,  about  her  lover's  interest  in  the  Indian  girl. 

The  second  part  takes  place  in  Oklahoma  a  few  days  later.  With  a 
plausible  excuse.  Shaxewis  has  left  Mrs.  Evertox  for  the  reservation  where 
Lionel  has  secretly  followed  her.  They  are  discovered  watching  the  closing 
scenes  of  a  big  summer  pow  wow.  Instead  of  repelling  Lioxel,  the  gay  and  bril- 
liant pageant,  the  mingling  of  traditional,  of  transitional  and  of  modern  Indian 
life  appeals  to  the  young  architect's  strong  sense  of  the  picturesque.    He  watches 

TL 


with  lively  interest  the  crowds  about  the  refreshment  booths,  the  gay  blankets,  the 
Indian  mothers  with  babies  in  cradle-boards,  the  dancers  in  regalia,  and  the  white 
visitors  in  holiday  attire.  The  ceremonial  songs,  even,  move  him  strangely,  so 
that  his  impulsive  love  for  Shanewis  grows  stronger  in  the  vivid  atmosphere 
which  belongs  to  her.  Therefore,  when  Philip  Harjo,  a  fanatical  young  Indian 
devoted  to  the  old  traditions,  presents  Shanewis  with  a  poisoned  arrow  once 
used  by  a  maiden  of  the  tribe  to  revenge  herself  upon  a  white  betrayer,  he  is 
piqued  and  assures  Harjo  that  Shanewis  will  never  have  use  for  such  a  weapon. 

Harjo,  the  foster  brother  of  Shanewis,  is  an  idealist  who  has  brooded 
over  the  wrongs  of  his  people  until  he  has  acquired  a  morbid  hatred  of  the 
white  race  and  resents  all  attempts  at  modern  civilization.  From  childhood 
he  has  loved  Shanewis,  but  as  she  grew  older  and  became  ambitious  for  musical 
training,  he  kept  his  passion  secret,  hoping  she  would  fail  to  win  recognition 
and  be  driven  by  her  failure  back  to  her  tribe  and  his  love.  Her  love  for  a 
white  man  comes  like  a  blow  to  his  hopes  and  his  traditions.  He  is  suspicious 
of  Lionel's  impulsive  attachment  and,  throughout  the  pow  wow,  he  watches 
his  chance  to  prove  his  rival  faithless. 

Lionel  and  Shanewis  attract  much  attention  especially  among  the  white 
people.  A  Jazz  Band  of  young  people  serenades  them,  and  young  high  school 
girls  hover  around,  allured  by  the  handsome  Californian.  Lionel  begs  Shanewis 
to  leave  early  but  she  insists  on  staying  to  the  end.  When  the  crowd  has  nearly 
all  departed,  when  the  booths  have  been  stripped,  and  Shanewis  has  accepted 
the  poisoned  arrow  from  Harjo,  Mrs.  Everton  and  Amy  hasten  up  in  travelling 
costume.  They  strive  to  check  Lionel's  mad  infatuation  for  the  Creek  girl, 
imploring  him  to  consider  his  duty  to  his  race,  if  he  has  forgotten  his  obligation  to 
Amy,  He  refuses  absolutely  to  return  with  them  and  declares  anew  his  love  for 
Shanew^is.  But  the  Indian  girl,  learning  for  the  first  time  of  his  engagement  to 
Amy,  rejects  his  love  with  scorn.  She  insists  upon  surrendering  him  to  Amy,  thus 
repaying  her  debt  to  AIrs.  Everton.  Passionately  she  denounces  the  white 
race  and  its  dealings  with  her  people.  She  then  declares  her  intention  of  retiring 
from  civilization  to  seek  refuge  in  the  forest,  near  to  God,  to  recover  from 
her  wound.  Recognizing  the  evolutionary  distance  between  her  and  that  other 
maid  who  sought  revenge  for  treachery,  she  throws  the  bow  and  arrow  far 
from  her. 

Though  all  the  other  Indians  withdrew  at  the  beginning  of  the  altercation, 

Philip  Harjo  watches  the  scene  from  behind  a  tree.     As  Shanewis  repulses 

Lionel,   Harjo  rushes   out,   snatches  up  the  bow  and  arrow   and   shoots  the 

young  man  straight  in  the  heart.     Shanewis  runs  back;  she  and  Amy  kneel 

beside  him,  while  Mrs.   Everton   frantically  attempts  to  drag  Amy  from  the 

scene.     Shanewis,  in  resignation  looks  upward,  saying,  "  "Tis  well.     In  death 

thou  art  mine!" 

NELLE  RICHMOND  EBERHART. 

[The  sketch  of  the  story  zvas  given  by  Tsianina  Redfeather  of  the  Creek  tribe.] 


1134446 


CAST  OF  CHARACTERS. 

!Mrs.  J.  AsHER  EvERTON,  a  prominent  California  club  zcoman. 
Amy  Everton,  her  daughter. 

Shaxewis,  an  educated  Indian  singer;  Mrs.  Everton's  protege. 
Lionel  Rhodes,  a  ivealthy  young  architect;  Amy's  fiance. 
Philip  Harjo,  a  young  Indian;  foster  brother  to  Shanewis. 
California  society  people ;  Oklahoma  Indians,  half-breeds  and  whites. 

Scene:  Part  One,  Southern  California 

Part  Two,  an  Oklahoma  Indian  Reservation 

Time:  The  Present. 


For  added  spectacular  effect,  the  musicale  in  Part  One  may  be  given  in 
costume,  the  characters  representing  the  various  phases  of  America  in  the 
Making.     The  following  are  suggestions : 

Mrs.  Everton — Queen  Isabella  of  Spain. 

Amy  Everton — Evangeline. 

Lionel  Rhodes — John  .Alden. 

Shanezi'is — Pocahontas. 


CHORUS. 


Sir  Francis  Drake. 
Marquis  de  Lafayette. 
Hernando  de  Cortez. 
Th.\ddeus  Kosciuszko. 
Leif  Ericsson. 
John  Paul  Jones. 
Robert  Fulton. 
George  Washington. 
Abraham  Lincoln. 
Ralph  Waldo  Emerson. 
Susan  B.  Anthony. 


Anne  Hutchinson. 

Betsy  Ross. 

Martha  Washington. 

Rip  van  Winkle. 

Salem  Witches. 

Cav.\liers. 

Quakers. 

Franciscan  jMonks. 

Norsemen. 

Cow  Boys. 

Creoles. 


SHANE  WIS 


PART  ONE. 

(In  California.) 

(A  long  music  room  zvith  three  zvide 
■  French  ivindows  at  back  opening 
upon  a  balustraded  terrace  beyond 
zvhich  the  moonlit  sea  is  visible.  A 
grand  piano  is  at  extreme  left.  At 
left  front  are  a  divan  and  palms. 
Heavy  curtains  separate  music 
room  from  dining  room.  Extra 
chairs  are  set  for  musicale.  A  group 
of  young  people  stroll  about,  chat- 
ting expectantly.) 

Chorus. 

Shanewis,  the  Indian  maiden, 
Will  sing  this  evening; 
Her  first  appearance  as  cantatrice ; — 
At  least  'twill  have  the  charm  of 
novelty! 

Group  of  Girls. 

I  wonder  what  her  gown  is, 
Of  buckskin  or  of  silk? 

Other  Girls. 

She  wears  a  beaded  costume 
Of  Alaskan  caribou. 

Young  Men. 

The  costume  does  not  matter, — 
Is  she  beautiful  and  can  she  sing? 

Chorus. 

I  wonder,  can  she  sing? 

(Mrs.  Everton  and  dinner  guests 
enter  left  from  dining-room.  Some 
of  the  men  go  out  on  terrace  to 
smoke.) 

Mrs.  Everton. 

One  word  before  I  bring  Shanewis, 
That  you  may  hear  with  kindness. 
Remember  she  is  no  alien  nightingale 


Fostered  by  tender,  sea-born  zephyrs 
In  balmy  climes  where  the  charmed  air 
Exhales  a  golden  melody. 
She  is  a  native  forest  bird 
Born  of  our  mighty  wilderness, 
Warmed  by  our  fervent  sun, 
Taught  by  our  free  winds  and  leaping 

canyon   waters 
A  strange,  primeval  song 
Of   ancient  intervals. 

(Mrs.  Everton  crosses  the  room  and 
passes  through  hall  archivay,  right. 
The  guests  seat  themselves,  the  men 
re-entering  the  room.  Lionel  and 
Amy  enter  from  terrace.  They  nod 
greetings  to  young  people  who 
gather  round  them.) 

Amy. 

I  am  curious  to  hear  Shanewis ; 
I've  scarcely  seen  her. 
She  only  came  this  morning 
And  has  spent  the  day  in  quiet. 

Lionel. 
Where  did  your  mother  find  her? 

Amy. 

In  Oklahoma,  while  I  was  abroad. 
She  is  a  descendant  of  the  great 

Tecumseh. 
(She   takes  a  framed  photograph  of 
Shanewis  from  the  table  and  shon'S 
it  to  him.) 
Is  she  not  lovely? 

(Lionel  studies  the  portrait 
attentively.) 

Lionel. 

Beautiful!     Beautiful! 

So  straight,  so  tall,   so  lithe  and 

slender! 
Years  ago,  in  Arizona, 
I  saw  a  face  like  hers. 
With  the  same  proud  eyes. 
The  same  white,  flashing  smile. 


S  H  A  N  E  W  I  S 


Amy 

{smiling,  yet  offended). 

Butterfly  heart! 

'Tis  well  I  have  returned. 

(She  replaces  portrait.    The  young 
people  Iwnd  it  about.) 

All. 

Hush!  Hush!  Hush!  Hush! 

(Mrs.  EvertOxV  re-enters  right,  fol- 
lozved  by  Shanewis  and  accompan- 
ist. Shanewis  is  in  zvhite  caribou, 
beaded.  The' pianist  seats  herself  at 
piano;  Shanewis  stands  in  the 
curve;  Amy  and  Lionel  sit  near 
piano.) 

Mrs.  Everton. 

Friends,  let  me  present  you 

My  lovely  wild-bird,  Shanewis. 

Her  song  will  transport  you 

To  forest  solitudes. 

To  prairie  uplands,  to  mountain  wil- 
derness. 

She  will  reveal  to  you 

A  little  of  her  Mother  Nature's  heart. 

Friends,  Shanewis. 

(Mrs.  Everton  bozvs  and  seats  her- 
self. Shanewis  bozvs  and  smiles. 
Lionel  moves  nearer,  fascinated.) 

Shanewis. 

Once  on  a  time  when  a  little  maid 

Before  the  camp-fire, 

I  heard  the  Spring  Song  of  the  Robin 

Woman, 
A  lovely  princess, 

An  enchantress  of  a  Northern  tribe 
Who  stands  at  winter's  end 
In  the  bow  of  her  canoe. 
She  sends  her  beautiful  song 
Across  the  frozen  river 
To  wake  the  Southern  winds, 
To  melt  the  fields  of  snow 
And  call  the  robins  home. 
This   is   the   song  the   Robin  Woman 

sang: 

(Shanewis  signals  pianist  to  begin  the 
accompaniment.) 

Oh,  ye  birds  of  spring. 
Come  from  your  hiding; 
Robins  all  and  humming-birds. 


Come  unto  this  barren  land. 
Hear  the  waters  gliding 
From  the  melting  ice  and  snow ; 
Salmon  leap  unto  my  hand, 
Call  ye  springtime  to  the  land, 
Call  ye  verdure  to  the  hills, 
Wake  the  blossoms  by  the  rills. 
Humming  birds  and  robins  all, 
Ha  yu!     Ha  yu! 
Come  unto  my  call! 

Oh,  ye  birds  of  spring, 

Come  ye   from  your  hiding; 

I  have  loosed  the  waters  wide. 

Trout  and  salmon  leap  and  glide; 

Come  unto  my  call! 

Come  ye,  birdlings  all, 

Robins  gay  and  humming  birds. 

Ha  yu!     Ha  yu! 

Come  ye  to  my  call! 

Ho!     Ho!     Ho! 

(The  guests  applaud  enthusiastically.) 

Lionel  (aside  to  Amy). 

She  herself  is  an  enchantress. 

Guests. 
^n  encore!     An  encore!     An  encore! 

Shanewis    (much  pleased). 

So  glad  you  liked  my  little  tale! 
ril  sing  you  another, 
An  Ojibway  canoe  song: 

Out  on  the  lake  my  canoe  is  gliding. 
Paddle  dipping  soft  lest  she  should 

take  alarm. 
Ah,  hey-ah  hey-ah,  ho,  hey-ah 

hey-ah,  ho, 
Thus  I  go. 

Somewhere  along  shore  she  is  hiding. 
She  is  .shy  to  yield  to  love's  alluring 

charm, 
Ah,  hey-ah  hey-ah,  ho,  hey-ah 

hey-ah,  ho. 
Love  will  win,  I  know! 

There  is  a  shadow,  swiftly  stealing! 
Should  it  be  her  own,  soon  I   will 

win  the  race! 
Ah,  hey-ah  hey-ah,  ho,  hey-ah 

hey-ah.  ho. 
I  think  it  is! 

Will  she  but  turn,  herself  revealing, 
I  will  shout  aloud,  whene'er  I  see 
her  face. 


S  H  A  N  E  W  I  S 


Ah,  hey-ah  hey-ah,  ho,  hey-ah 

hey-ah,  ho, 
There  she  is! 

(Frederick  Burton.) 

(Shanewis  bozi's  gracefully.  She  then 
steps  to  ]\Irs.  Everton's  side  and 
lays  her  hand  upon  her  shoulder. 
The  accompanist  joins  the  guests. 
Amy  goes  up  to  Shanewis  impul- 
sively.) 

Amy. 

How  many  letters  came  across  the 

ocean 
To  tell  me  of  your  singing. 
But  you  are  far  above  my  dreaming. 
You've  sung  your  way  into  my  heart. 

Shanewis. 

I  rejoice  that  you  are  pleased; 

But  if  I  have  done  well. 

You  must  thank  my  benefactress. 

She  took  the  wild  bird  from  its  forest 
home 

And  changed  its  sylvan  notes  to  lyric 
airs. 

All  that  I  am  she  made  me, 

All  that  I  do  she  taught  me. 

As  Heaven  sees  me  here,  I  vow 

Some  day  I  shall  repay  her. 

At  whatever  cost,  at  whatever  sacri- 
fice, 

I  shall  repay  her. 

(Mrs.  Everton  rises.  She  and  Sha- 
newis clasp  hands  fondly.  The 
guests  surround  them,  congratulat- 
ing both.  The  young  men  are  very 
attentive.  Finally  they  go  out  on  the 
terrace  to  dance.  Lionel  detains 
Shanewis.  He  leads  her  to  divan, 
left  front.   They  sit.) 

Lionel  ( excitedly ) . 

It  is  so  strange, — I  must  tell  you! 
Just  now  when  I  clasped  your  hand, 
I   felt  a  thrill  within  my  heart. — 

{In  a  hushed  voice.) 
Comes  love  ever  thus, — so  suddenly? 
Shanewis  (shyly). 
I  know  not! 

Lionel. 
Clasp  my  hand! 

( They  •  clasp  hands. ) 
Look  in  my  eyes! 


(They  gaze  long.  Suddenly  Shanewis 
pushes  him  azvay,  clasping  her  hands 
over  her  heart.) 

Shanewis 

(breathlessly). 

Can  it  be!     Can  it  be! 

I  feel  the  thrill!    I  see  a  star! 

It  is  enchantment! 

Lionel 

(caressingly). 

My  sweet  enchantress!     My  Robin 

Woman ! 
Calling  the  springtime  to  my  heart! 

(They  move  nearer  each  other.) 

Shanewis. 

There  is  the  Moon  of  Red-blooming 

Lilies 
Climbing   the    mountain   above   the     ■ 

ocean. 
Did    it    bring    love    to    us    who    are 

strangers  ? 
(Lionel  again  clasps  her  hand.    Fie 

leans  ardently  tozvards  her.) 

Lionel. 

Ah,  clasp  my  hand.  Look  in  my  eyes! 
Love  stole  out  of  the  sea  at  star-break ; 
Was  it  the  magic  of  the  moon  that 

drew  him, 
Or  was   it  your  eyes   so  brov/n   and 

tender, 
Or  was  it  mv  ardent  heart 
Longing,  longing,  longing, 
Not  knowing  what  it  longed  for 
Till  it  found  you? 

Shanewis. 
Love  rose  up  from  the  great  white 

water. 
Stole  upon  us  dreaming  unaware, 
Bound  our  alien  hearts  together. 
What  called  him  from  his  far-oft 

places  ? 
Was  it  the  Moon  of  Blood-red  Lilies? 
Was  it  my  heart  like  a  warm,  red 

flower. 
Glowing,  glowing  with  its  desire? 

Lionel  and  Shanewis. 

Love  stole  out  of  the  sea  at  star- 
break  ; 

Was  it  the  magic  of  the  moon  that 
drew  him? 


S  H  A  X  E  W  I  S 


Lionel. 

Or  was  it  your  eyes   so   brown   and 
tender? 


Lionel  and  Shaxewis. 

Or  was  it  my  ardent  heart, 
Longing,  longing,  longing, 
Xot  knowing  what  it  longed  for 
Till  it  found  you  ? 

{^He    clasps    her    in    his    arms.     She 
struggles  free.     They  rise.) 

Shanewis. 

Ah,  is  happiness  for  us? 
I  am  a  bird  of  the  wilderness, 
I  am  a  thrush  of  the  woodland, 
Captive  awhile  to  art  and  song 
Yet  true  to  my  traditions. 
I  love  the  wild  life  of  the  plains, 
The  campfires  of  my  people, 
The  young  companions  of  my  child- 
hood, 
My  father  and  my  foster-brother. 
Ah,  if  you  think  you  love  me, 
Go  with  me  to  my  home, 
Learn  to  know  my  people. 
This  sudden  love  may  die. 

Lionel 

(fired  by  her  entJmsiasm). 

Take  me  to  your  people! 
Where  you  love,  I  love. 

(Amy  and  a  young  man  enter  from 
the  terrace.  Shanewis  and  Lionel 
mofc  apart  guiltily.  TJie  young  man 
leads  Shanewis  out  to  dance.  Amy 
remains.  Lionel  recovers  his  poise.) 

Lionel 

(aside,  ruefully). 
I  had  forgotten  Amy! 

Amy  (jealously). 

So  long  with  Shanewis! 

Does  she  know  we  are  betrothed? 

Lionel 

(looking  azi'ay). 

Of  course  I  did  not  tell  her, — 
That  was  for  you. 


Amy 

(disconsolately,  leaning  against  his 
breast). 

Xo   kiss   tonight?     X'o   loving   word? 
Xot  often  are  you  cold. 

(Lionel  looks  nervously  across  piano 
to  open  French  n'indows.  He  drazvs 
Amy  further  behind  palms  and 
piano.) 

Lionel 
(with  effort  to  appear  tender). 

Dear  Azure  Eyes,  what  is  your 
thought  ? 

Amy. 

Sometimes  I  wake  from  sleep 

When  day  lies  pale  upon  the  deep, 

To  lie  and  weep ; 

I  hear  the  gulls  with  eerie  cry, 

The  morning  airs  that  hasten  by 

With  careless  sigh. 

Beneath    my    casement, 

I  hear  the  waves  complaining. 

They    tell    me   love   is   fleeting, — 

Fleeting,  not  immortal. 

Ah!  suppose  you  ceased  to  love  me! 

(Lionel  ignores  her  complaint  but  re- 
plies to  her  depreciation  of  love 
with  emphasis.) 

Lionel  (with  decision). 

Love  is  not  a  fleeting  passion, 
Love  is  true  as  angels  are, 

Tho'  we  wander  far,  mistaking 
Straying  moonbeams  for  a  star ; 

Tho'  we  dream  and  find,  awaking, 

\^ows  forgotten,  faith  forsaking ; 

Ah!  love  is  not  a  fleeting  passion, 
But  is  steadfast  as  a  star! 

(He  seats  her  on  the  divan  and  stands 
before  her  explaining.) 

Do  you  know  the  difference 

Between  moonlight  and  starlight? 

Between  reflected  glow  and  burning 
flame? 

Ah,  moonlight  is  ghost-light ; 

It  is  like  a  candle  shining  on  a  white, 
dead  face. 

While  starlight  is  a  beacon 

Which  guides  to  the  heart  of  fire! 

Moonlight  is  beautiful,  but  treacher- 
ous! 


S  H  A  N  E  W  I  S 


It    neither  guides  nor  warms ; 

It  is  like  phosphorescence  on  the  sea 

Hiding  a  grave! 

Who  cares  for  moonlight 

While  shines  a  star? 

{He  looks  across  the  piano  and  sees 
Shanewis,  zuith  others,  entering. 
Their  gaze  meets.  Amy  follozvs  his 
look  and  clasps  her  hands  despair- 
ingly.) 

Love  eternal,  love  immortal, 
Love  I  follow,  follow  far! 

(The  clock  in  the  hall  begins  to  strike 
midnight  and  all  the  guests  hasten 
in.  Mrs.  Everton  and  Shanewis 
stand  in  the  center  of  room.  Lionel 
and  Amy  join  thetii,  Amy  hiding 
her  emotion  behind  a  conventional 
smile.  The  company  begin  their 
adieiix.  Some  shake  hands,  some  of 
the  ladies  kiss;  all  bozv  and  smile. 
They  make  their  way  lingeringly 
into  the  hall.) 

Chorus. 

Now  chimes  the  midnight  hour, 

Good-night  to  all ; 
So  lovely  is  the  moon, 

So  soft  her  thrall, 
Time  passed  all  unheeded 

Beyond  recall. 
Good-night! 

Elderly  Guests 
{to  Mrs.  Everton). 

Sweet  is  your  woodland  thrush, 

Sweet  is  her  strain ; 
May  Song  crown  her  sovereign, 

May  long  be  her  reign. 
Good-night! 

Mrs.  Everton,  Amy  and  Shanewis. 
Good-night,  good-night  to  all. 

Mrs.  Everton. 

Good-night,   good-night,   do   come 

again ; 
Thank  you  for  your  kindness  to  my 

wild-bird. 

(Shanewis  returns  to  center  of  room 
zvhere  a  group  of  young  men  are 

X 


chatting  zuith   Lionel.     They   bold 
gallantly  in  turn  over  her  hand.) 

Young  Men. 

Good-night-  good-night. 
Dear  singing  wild-bird. 

{They  exit  right,  saluting  Mrs.  Ever- 
ton and  Amy  at  door.) 

Group  of  Girls 
{At  hall,  mischiez'onsly  to  Amy.) 

Good-night,  Amy,  look  well  to  your 

lover ; 
He  was  flirting  with  Shanewis  in  the 

corner. 
Half  the   evening! 

{Calling  back.) 
Good-night,    Shanewis,   good-night! 

Lionel 
{softhy^  secretly). 

Good-night,  Robin  W^oman,  call  and  I 

come! 
If  you  call  me  I  will  hear  you, 
I  will  follow  to  your  arms. 
Good-night,  enchantress,  good-night! 

Shanewis   {fervently). 
Good-night! 

(Lionel  bends  and  kisses  her  hand, 
then  joins  Amy.  Mrs.  Everton, 
Amy  and  Lionel  with  remaining 
guests  pass  through  hall  into  garden. 
Shanewis  szvitches  out  the  music 
room  lights  and  stands  in  the  moon- 
light. She  lays  the  hand  zvhich 
Lionel  has  kissed  upon  her  lips  in 
ecstasy.  The  voices  of  the  young 
people  float  in  faintly  from  out- 
side.) 

Chorus  of  Young  People. 

Dear  wood-bird!     Bird  of  the  wilder- 
ness! 


CURTAIN. 


TO 


S  H  A  N  E  W  I  S 


PART  TWO. 

(/w  Oklahoma.) 

{Approaching  sunset.  The  closing 
scenes  of  a  modern  summer  en- 
campment or  pozv  zvozv  of  an  Okla- 
homa tribe  of  Indians  are  in  pro- 
gress. The  camp  is  on  a  level  stretch 
of  ground  but  in  the  distance  is  seen 
a  rolling  farming  country  dotted 
with  occasional  patches  of  live  oak 
and  cottomvood  trees.  To  the  right 
front  a  trail  leads  up  over  a  rocky 
rise  of  ground  edged  zvith  a  fringe 
of  zvoodland.  The  pozv  zuozu  is  held 
in  an  enclosure  of  canvas  fence 
stretched  on  tall,  slender  poles  be- 
yond zvhich  are  tepee  tops  and  im- 
provised canvas  shelters  for  the 
campers.  The  ceremonial  dancers 
in  full  regalia  stand  against  this 
fence  azvaiting  their  turns.  The 
crozvd  consists  of  full-blood  Indians 
and  half-breeds  in  ceremonial,  mon- 
grel or  modern  dress  and  zvhite  spec- 
tators in  holiday  attire.  Booths  de- 
corated in  red,  zvhite  and  blue  bunt- 
ing occupy  the  middle  stage.  Sev- 
eral Ford  automobiles  stand  about. 
An  Indian  pony  hitched  to  a  red  and 
green  zvagon  filled  zvith  Indian  chil- 
dren is  tied  to  a  tree.  Ice-cream  and 
lemonade  vendors  are  cr\ing  their 
wares.  Balloon  sellers  add  noise  and 
color.  Shanewis,  in  red  buckskin, 
and  Lionel  in  an  immaculate  and 
correctly-cut  sport  suit,  stand  right 
front  and  watch  the  pageant  zvith 
interest.) 

Chorus  of  Indians. 

The  Sun  walks  in  the  south 

Whence  come  all  light  and  brightness ; 

But  now  he  goes  to  the  west 

Where  dwells  the  end  of  all ; 

So  we  forsake  our  ceremonies, 

So  we  cease  from  singing; 

The  drums  grow  silent, 

The  dance  is  over! 

All  day  the  winds  have  wandered, 
Caressing  the  Mother  Corn 
Whose  spirit  gives  us  life; 
Day  and  night  the  running  waters 
Have  whispered  of  renewing  life. 
O  Sun,  O  Earth,  O  Air,  O  Waters, 


Give  us  still  of  thine  abundance 
That  we  may  live  and  grow. 

Lemonade  \'endors. 

Lemonade !   Lemonade  !   Ice-cold 

lemonade! 
Five  cents  a  glass! 
Very  refreshing  in  the  heat. 

Balloon  Vendors. 

Balloons,  red,  white  and  blue, 
Just  like  the  American  flag! 
Closing  out  balloons. 

Ice-Cream  Vendors. 

Ice-cream  cones!     Ice-cream  cones! 
Five  cents  apiece! 

Women  Spectators. 

See  the  handsome  man  with  the  pretty 

Indian  maid! 
I  wonder,  is  it  a  flirtation? 

Men  Spectators. 

The   crops   are    looking  fine,   but    we 

need  more  rain. 
This   wind  is  destructive;  the   soil  is 

dry. 

All. 

The  sun  is  sinking  fast. 

(High  School  Girls  hover  about  the 
couple  sentimentally. ) 

High  School  Girls. 

Oh,  Summer  of  Love  with  winds  that 

blow  o'er  the  ripening  corn, 
Our  hearts,  too,  are  ripening  in  the 

mellow  harvest  sun ; 
ph,  bring  us  a  reaper  with  eyes  as  blue 

as  the  skies  of  morn, 
Our  hearts,  too,  are  waiting  for  the 

golden  scythe  of  Love. 

Shanewis. 

The  day  draws  to  -a  close., 
The  ceremonies  are  over, 
They   are  breaking   camp, 
What  think  you  of  my  people? 
Do  you  still  love  your  wild  bird? 

Lionel.. 

Oh,  Bird  of  the  Wilderness, 


S  H  A  N  E  W  I  S 


II 


Your  wild  note  thrills  the  heart  of 
me; 
Oh,  nest  upon  my  tree  of  love 
And  fill  my  life  with  melody. 
Oh,  come  with  me. 

Shanewis. 
I  come!     I  come! 

Spectators. 

Pow  wows  are  picturesque  and  quite 

unique ; 
This  has  been  a  splendid  show,  a  gala 

week. 
But  now  the  end  has  come, 
We  must  prepare  for  home. 
Our  holiday  is  o'er;  to  work  we  now 

return. 
Goodby,  we  go! 

(The  vendors  pack  their  zvares  and 
strip  the  booths.  The  spectators  and 
Indians  gather  their  families  togeth- 
er and  leave  the  stage  in  groups.) 

Lionel. 
Sweetheart,  let  us  go! 

Shanewis. 
No,  there's  one  more  song! 
(Lionel  and  Shanewis  move  over 
tozvard  the  center  of  the  stage  zvhich 
is  nozv  nearly  empty.  A  few  full 
blood  Indians  in  regalia  remain. 
Four  old  Indians  range  themselves 
in  tJie  center.) 

Four  Old  Indians. 

Tsi-go  he-thon  -be  shon  ni  wa  ta  wa- 
kon  he  tse  he, 

Tsi-go  he  she  shon  ni  wa  ta  wa-kon 
he  tse  he, 

Ba-bthi  he-thon  -be  shon  ni  wa  ta  wa- 
kon  he  tse  he, 

Tsi-go  he-thon  -be  shon  ni  wa  ta  wa- 
kon  he  tse  he, 

(Philip  Harjo  steps  forth  and  stands 
before  Shanewis.) 

Philip  Harjo 

(soniezvhat  pompously). 

Shanewis,  you  have  chosen  an  alien 
lover. 


I  do  not  approve  the  marriage. 

The  noblest  of  our  tribe  were  proud 

To  wed  Shanewis ; 

But  the  world  first  called  to  you, 

And  then  this  man. 

I,  too,  have  loved  you  long  but  se- 
cretly, 

And  mourned  when  you  went  forth 

To  learn  the  custom  of  a  hated  race. 

I  hoped  a  cruel  world  would  drive 
you  back 

Into  my  waiting  arms. 

(Bitterly.) 

But  while  the  Red  Man  waited 
The  W'hite  Man  stole  your  love 
As  he  steals  all. 

Since  it  must  be  so  we  wish  you  well, 
And  here  I  bring  a  gift. 

(He  displays  a  handsome  boiv  and 
arrozv.) 

Long  ago  a  maiden  of  our  tribe 

Was  betrayed  by  a  pale-face. 

In  her  shame  she  found  death  in  the 

forest. 
But  ere  she  died  she  planted  in  the 

traitor's  heart 
This  poisoned  arrow  tipped  with 

death! 
If  ever  one  is  treacherous  to  thee, 
Here  is  thy  revenge! 

(He  steps  forzvard  and  presents  Sha- 
newis the  bozv  and  arrozc.) 

Lionel  (carelessly). 

It  is  a  useless  keepsake ; 

Never  shall  it  be  needed. 

I  shall  be  true  to  Shanewis! 

(Before  Shanewis  can  speak,  Mrs. 
Everton  and  Amy  hasten  up  in 
travelling  costume.  All  the  Indians 
still  on  the  stage  retire  except  Har- 
jo zvho,  suspecting  trouble  to  Sha- 
newis, conceals  himself  behind  a 
tree.) 

Mrs.  Everton 

(In  agitation). 

Lionel,  we  Have  followed  you 
To  save  you  from  this  folly. 

Lionel    (blusteringly) . 
Why  folly?     I  love  Shanewis. 


12 


S  H  A  N  E  \\^  I  S 


Mrs.  Everton 

{zi'ith  scorn,  her  arm  s^cccping  the 

scene). 

Is  this  the  Hfe  to  which  you  are  ac- 
customed? 
Do  you  feel  at  home? 

(LioxEL  throz^.'s  his  arm  about  Sha- 
NEWis  who  stands  in  silent  aston- 
ishment.) 

Lionel. 

At  last  I  know  immortal  love! 
And  I  can  never  change. 

Mrs.  Evertox  (zcvVA  scorn). 

Love!     Love!     So  Hke  a  man! 
Along  his  path  since  time  began 
He  leaves  his  trail  of  wrack  and  woe, 
His  "Lo,  I  come," — his  "Lo,  I  go." 
The  hearts  of  women  are  his  prey, 
X'or  truth  nor  duty  say  him  nay. 

Mrs  Evertox  axd  Lioxel 
[angrily  facing  each  other). 

Be  still!    Be  still!    What  do  you  know 
of  love? 

Mrs.  Evertox. 

And  gentle  Amy — how  ardently  you 

wooed  her, 
How  ardently  and  long,  and  now — 

(Lioxel  leaves  Shaxewis  and  goes 
over  to  Amy.) 

Lioxel   {ashamed). 
Dear  gentle  Amy,  I  ask  forgiveness. 

Amy  {ivith  sorrozv). 
Some  day  I  may  forgive, — not  now. 

Mrs.  Evertox. 
Some  day  she  may  forgive, — not  now. 

Amy   (zi'ith  nobility). 

Not  for  myself  I  plead,  Beloved, 
Love    must    be    free    and    not ,  com- 
manded. 
Xor  aught  have  I  against  Shanewis, 
]My  little  Indian  sister 
Who  knew  not  of  vour  broken  faith 


And  so  is  innocent. 

I  plead  for  you  and  for  our  unity  of 
blood. 

Each  race  is  noble  when  the  line  is 
clear 

But  mingled  bloods  defile  each  other : — 

It  is  the  law. 

Neither  of  you  should  allow  infatua- 
tion 

To  blind  your  vision  of  the  right. 

(Lioxel  interrupts  passionately  and 
m-oves  back  to  Shaxewis.) 

Lioxel. 

'Tis  not  infatuation. — 'tis  love  eternal! 
What  care  I  for  the  law? 

Amy  {sorrozi'fxdly) . 
Love  is  law. 

Shaxewis 
{moving  coldly  azi'ay  from  Lioxel). 

So  you  wooed  Amy  first — then  me ; 
How  many  have  you  loved  before 
To  leave  so  lightly 
As  you  left  Amy? 
How  can  you  expect  happiness? 
Ah,  happiness  is  not  build  on  broken 
vows! 

(Shaxewis  fingers  the  bozv,  gazing 
on  it  in  fascination,  her  face  ex- 
pressing mingled  sorrozv  and  anger. 
After  a  moment,  she  throzvs  it  far 
from  her  and  it  rattles  to  the 
ground.) 

Shaxewis 
{passionately). 

A  hundred  years  ago  my  ancestress 
\^"ould  have  drawn  that  bow 
And  sent  the  poisoned  arrow  home 
Straight  to  your  faithless  heart. 
But  I  cannot!     I  cannot! 
Am  I  too  civilized  or  too  weak. — 
Which  is  it? 

Lioxel 
{impatiently). 

Wornen  never  understand  ; — 
Let  me  explain. 


SHANE  W  I  S 


13 


Shanewis 


(z^nth  sorrozvful  gesture). 

Be  silent!     Let  me  speak. 

For  half  a  thousand  years 

Your  race  has  cheated  mine 

With  sweet  words  and  noble  senti- 
ments, 

Offering  friendship,  knowledge,  pro- 
tection. 

With  one  hand  you  gave — niggardly, 

With  the  other  took  away — greedily! 

The  lovely  hunting  grounds  of  my 
fathers 

You  have  made  your  own ; 

The  bison  and  the  elk  have  disappear- 
ed before  you, 

The  giants  of  the  forest  are  no  more. 

Your  ships  infest  our  rivers, 

Your  cities  mar  our  hills. 

What  gave  you  in  return? 

A  little  learning,  a  Httle  restless  am- 
bition, 

A  little  fire  water, 

And  many,  many  cruel  lessons  in 
treachery! 

{She  seizes  Lionel  by  the  hand  and 
almost  drags  him  to  Mrs.  Everton, 
pressing  their  hands  together  zno- 
lently.) 

Take  him, — base  example  of  a  deceiv- 
ing race! 
I  surrender  him  to  Amy, 
And  thus  repay  my  debt  to  you. 

{She   turns  azvay.) 

Into  the  forest,  near  to  God  I  go 
To  commune  with  my  own  soul 
Within  the  solitude 
And  recover  from  this  wound! 
{She  starts  slowly  and  zvith   dignity 

up    the    trail.    Lionel    drops   Mrs. 

Everton 's    hand    and    runs    after 

Shanewis,  clasping  her  in  his  arms. 

She  fiercely  struggles  free.) 

Lionel. 

I  go  since  you  desire  it; 
But  our  love  is  immortal. 
Forgive  me  some  day  when  in  loneli- 
ness 
Your  heart  grows  softer, 
Longing,  longing,  longing, 
But  nevermore  to  find  me. 
Farewell,  my  Robin  Woman, 
Farewell! 


Shanewis 


{looking  hack). 
Longing,  longing,  longing, 
But  nevermore  to  find  vou. 
Farewell! 

(Lionel  walks  sloivly  back  tozvard 
Amy.  He  takes  her  hand  and  turns 
to  zi'atch  Shanewis.  At  this  mo- 
ment Philip  Harjo  rushes  from 
behind  the  tree,  snatches  up  the  bozv 
and  arrozi'  and  shoots  Lionel  in  the 
heart.) 

Philip  Harjo. 

Go,  Messenger  of  Death! 
Seek  thou  his  traitor  heart! 
Avenge  her  and  her  race! 

Shanewis 
(in  horror,  running  back). 
The  poisoned  dart! 

Lionel 

{gasping  and  falling). 

The  poisoned  dart! 

(Amy  kneels  beside  Lionel  and 
strives  to  support  him.) 

Amy. 
Lionel!     Lionel! 
What  woe  has  come  upon  you! 

Mrs.  Everton 

{pulling  frantically  at  Amy's  arm.) 

Come  away!  Come  away!  Come  away! 

(Shanewis  reaches  Lionel  and  bends 
over  him.) 

Shanewis 
{looking  upzvard  in  resignation). 
'Tis  well.     In  death  thou  art  mine. 

Indians 

{running  back  in  excitement). 

Ha  ha  tho!  Ha  ha  tho! 
Ha  ha  tho!  Ha  ha  tho! 
Ho  tho! 

curtain. 


d  15] 


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